Review: Ghost Boy at the Bernie Grant Arts Centre

Having gone through a few rewrites before reaching London's Bernie Grant Arts Centre,
Ghost Boy had ironed out the creases of its hip hop theatre production to present
a well-shaped finished product.

Set to a basic 'bridge' stage which doubled up as a projector screen, Ghost Boy's
set is as simple as the play is to the point - after the introduction credits Jamal
swaggers on stage to announce that yes, there will be swearing, yes there will be
use of drugs, and yes - pulling down his tracksuit bottoms - there may be nudity.

Ghost Boy tells the story of Jamal, a streetwise, cocky rudeboy from the fictional
Lemonade Estate, and Michael, a quiet individual who keeps to himself and loves to
draw. He escapes into his fantasy world of Biro illustrations to escape the people
who bully him for being privileged - one of them Jamal.

After an incident two years ago, Jamal (Tachia Newall) becomes haunted by a creepy
figure, Ghost Boy, who lurks around in his consciousness watching his every move.

Jamal meets Dennis (Everal A Walsh), a community do-gooder who has to serve community
service on Jamal’s territory, a run down spot underneath a bridge. You didn’t misread
that - Dennis was sentenced by a local magistrate after getting arrested dressed
as his alter ego, Fly Man!

The two start off clashing with each other at the start as younger generation meets
older generation, disruptiveness clashes with authority, but soon they start to find
mutual ground, and things seem well. But even Dennis has his own past as he reminisces
about his son who he never sees.

Ghost Boy is touching as it explores the relationships of how frustrated teenagers
deal with not having figures of authority, but its approach is also funny and sincere.
Breaking off from the action, Jamal and Dennis take time to narrate their stories
to the audience and ponder aloud. You don’t notice time passing by as the two talk
about how they see things from their perspective.

Themed around Ghost Boy’s love of sketching, the fittings to the set and the puppets
are all hand painted to give them a surreal comic book effect (see photo, left) designed
by street artist Sofiski.

Even Jamal’s friends are two-dimensional cartoon puppets to keep the cartoon theme
consistent, vocalised by grunts from Hobbit.

Simplicity and small detail is what gives Ghost Boy its appeal - minus the lighting
and stage technicians there are five people present in the cast. Meanwhile, just
off stage Hannah Marshall plays cello and Hobbit provides sound effects and rhythm
and double up as puppeteers.

Music plays an interesting role in Ghost Boy as there is no pre-recorded soundtrack
- all are provided by Marshall and Hobbit, whether Marshall is playing an accompanying
melody to Hobbits beatboxed drum loop, or the sound of a car engine igniting.

Looping pedals by the musician's feet help to build up gradual musical compositions
and continue the music when they have to run backstage and set up the next stage
prop.

All of this is so well choreographed that scene changes and music continuation happen
seamlessly, and credit has to be given for having it marked to a tee.

There are also a few musical numbers throughout, proper songs with sung and rapped
verses, even a surprise comedy number. All of the acting is on point.

Ghost Boy is an outstanding example of how something can be taken from an organic
idea to create a well-rounded, well acted and well produced script and take so many
elements - hip hop theatre, live music, puppetry - and make it appealing, both to
younger audiences and adults who aren’t offended by a bit of bad language.